Month: March 2021

Today’s quick review: Once Upon a Time in Mexico. The vigilante El Mariachi (Antonio Banderas) comes out of retirement when Sands (Johnny Depp), an unscrupulous CIA agent, hires him to kill General Marquez (Geraldo Vigil), the man who murdered his wife Carolina (Salma Hayek). But a simple act of revenge spirals out of control when Sands tries to use him to hijack a coup orchestrated by Armando Barillo (Willem Dafoe), the head of a drug cartel.

Once Upon a Time in Mexico is a violent action movie with black comedy elements. It is the final movie in Robert Rodriguez’s Mexico trilogy and easily shows the most polish of the three. From its ideas to its pacing to its outrageous situations, Once Upon a Time in Mexico is a culmination of the shift begun in the transition from El Mariachi to Desperado. The end result is a twisted gem with a distinctive style and plenty of raw entertainment.

The most visible addition to the series is Johnny Depp as Sands, a quirky, murderous CIA agent with a plan to turn an attempted military coup to his own advantage. Sand’s plans tie together the film’s sprawling plot, while Depp’s bizarre yet charismatic performance sets the tone for the entire film. Much like Once Upon a Time in Mexico as a whole, Sands brings to the table a combination of high-stakes intrigue and ridiculous black humor.

With the movie’s linchpin in place, everything else fits together with surprising precision. Antonio Banderas reprises his role as El Mariachi, whose character has been pared down to the essentials: a gun-slinging hero with sympathetic motives. The supporting cast hits the same sweet spot: vivid characters who are significant but aren’t bogged down with details. The familiar faces include Danny Trejo, Mickey Rourke, Eva Mendes, and Cheech Marin.

The same goes for the action. The stunts are anything but realistic, but they are creative, polished, and strung together well. The action has a nice blend of tension and absurdity, making it hard to predict and delivering a series of fun surprises for those who appreciate Rodriguez’s twisted sense of humor. The plot is similarly ambitious and similarly polished, a sprawling web of schemes and counter-schemes that somehow tie together in the end.

Once Upon a Time in Mexico is an excellent pick for fans of offbeat action, madcap situations, and films with a strong directorial vision. Once Upon a Time in Mexico will not be for everyone. Even those who don’t mind its grey morality, nonlinear plot, and relatively high amounts of gore may not appreciate the exaggerated direction it takes the series. But for a viewer whose tastes line up the right way, it’s an energetic and original watch.

For violent action and dark humor in the same vein, but with a greater focus on story and cinematography, try Quentin Tarantino’s movies. For an even more stylized, gory action movie from the same director, try Sin City. For a crime comedy that manages a similarly tangled plot with even more skill, try Snatch or Lock, Stock, and Two Smoking Barrels. For a grittier, more dramatic cartel power struggle set in Mexico, try Sicario.

6.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for hit-or-miss energy and style.

Today’s quick review: Desperado. Ever since gangsters injured him and killed the woman he loved, an ex-mariachi (Antonio Banderas) has been traveling from town to town, killing the men responsible. Now, with the help of a close friend (Steve Buscemi), he has tracked down their leader, Bucho (Joaquim de Almeida). But when dealing with Bucho’s men proves to be a challenge, the vigilante must rely Carolina (Salma Hayek), a bookstore owner, for help.

Desperado is an action movie written and directed by Robert Rodriguez. Desperado is the sequel to El Mariachi, following the nameless title character as he takes his revenge for the events of the first film. The sequel trades the minimalism and understated humor of the first film for gun-toting action, larger-than-life characters, and absurd situations. The shift will appeal to fans of tongue-in-cheek action but less so to fans of crime dramas.

Desperado takes the world established in El Mariachi to new extremes. The protagonist, now played by Antonio Banderas, has become a notorious killer, feared by criminals around Mexico. The stunts are bigger this time around, with plenty of bullets, gore, and explosions. Desperado also benefits from a more memorable cast, including Salma Hayek, Steve Buscemi, Danny Trejo, Cheech Marin, and Quentin Tarantino, who help give the film its flavor.

Desperado does have a few limitations to temper its strengths. The film takes a brute force approach to action that opts for volume over finesse, with stunts that are more notable for their energy than their execution. Desperado also sacrifices what dramatic weight El Mariachi had in favor of more action and a fresh infusion of black comedy. This does lead to a more entertaining movie overall, but at the cost of the first film’s subtleties.

Fans of the stranger side of the action genre will want to give Desperado a shot. The combination of a colorful cast, a chaotic setup, and plenty of violence makes it an entertaining watch for the right viewer. But its loose style, thin plot, and lack of earnest drama mean that it’s outclassed by action films that have a better balance of style and substance. Those looking for a cinematic masterpiece will want to keep looking.

For violent action in the same style, try the work of Quentin Tarantino. For an even more stylized action movie from Robert Rodriguez, try Sin City. For a budget crime movie with a subtler blend of action and offbeat humor, try The Boondock Saints.

7.2 out of 10 on IMDB. I give it a 7.0 for straightforward, violent entertainment.

Today’s quick review: El Mariachi. A traveling musician (Carlos Gallardo) ends up in the middle of a gang war when he gets mistaken for Azul (Reinol Martinez), a local crime boss out for revenge against Moco (Peter Marquardt), his treacherous former partner. With Moco’s men scouring the city for a man matching his description, the musician seeks shelter with Domino (Consuelo Gomez), a bar owner who takes a liking to him.

El Mariachi is a crime drama written and directed by Robert Rodriguez. El Mariachi follows an aspiring mariachi as he arrives in a new city, looking for work. What he finds instead is violence, and he’s forced to rely on luck, determination, and the kindness of a stranger to stay alive. The movie makes the most of its minimal budget, with interesting conflicts and a clear directorial voice. However, its limited scope won’t appeal to everyone.

El Mariachi accomplishes quite a bit with the resources at its disposal. The premise is simple, a case of mistaken identity that kicks off a series of close calls for the film’s innocent protagonist. The film focuses more on peril than action, and while its plot is serious in nature, it squeezes in a bit of absurd comedy that gives it some flavor. The finishing touch that helps set the movie apart is Robert Rodriguez’s close, personal cinematography.

Even so, El Mariachi has less substance than other films in the same vein. The title character has his hands full trying to survive, keeping him in a passive role for most of the film. He does contribute somewhat to the film’s drama, but not as much as if he were more personally involved in the story. Likewise, the conflict between Moco and Azul leads to some interesting individual encounters but never comes together the way it should.

El Mariachi is worth a watch if you’re interested in a pared-down crime drama with a distinctive style. Though not as overtly impressive as the best films in the genre, solid craftsmanship and a promising setup make it a fine pick for those who are curious. Those hoping for something with richer drama, a more intricate plot, or a more uplifting tone should give it a pass.

For another minimalistic crime drama with a more elaborate plot and a more brooding atmosphere, try Blood Simple. For a crime comedy with a sharper script and a complicated plot, try Lock, Stock, and Two Smoking Barrels. For a crime comedy about an innocent man dragged into a turf war due to a case of mistaken identity, try Lucky Number Slevin. For a darker, more captivating movie about a loner thrust into a violent situation, try Drive.

6.9 out of 10 on IMDB. I give it a 7.0 for attentive cinematography and a decent plot.

Today’s quick review: The Legend of Zorro. For ten years, Alejandro de la Vega (Antonio Banderas) has protected the people of California as the masked adventurer Zorro, at the cost of his relationship with his wife Elena (Catherine Zeta-Jones) and son Joaquin (Adrian Alonso). Now, with California on the verge of statehood, Alejandro finds it hard to give up the mask, even as he faces romantic competition from Armand (Rufus Sewell), a French count.

The Legend of Zorro is an action adventure and the sequel to The Mask of Zorro. Set a decade after the first film, The Legend of Zorro picks up with Alejandro as he contemplates retiring from his vigilante career to spend more time with his family. The movie is a lighthearted adventure with a fun mix of action and comedy. However, a loose plot, a weak villain, and a heavier focus on comedy make it a step down from its predecessor.

The Legend of Zorro is a lighter take on the character than the previous film. The action is a shade less violent, with less swordplay and more acrobatics. The conflict is more diffuse, swapping the revenge plot featured in the first film for the lower-stakes drama of domestic turmoil. The comedy is more frequent and less subtle. Tonally, the film feels like a victory lap for Alejandro, in spite of the many setbacks he faces.

These elements work fine together, but they make for a less impressive adventure than The Mask of Zorro. The Legend of Zorro’s strengths include the pairing of Antonio Banderas and Catherine Zeta-Jones, a generous serving of breezy action, and humor that, while not brilliant, contributes to an atmosphere of adventure. But those hoping for the sharp action, well-balanced story, or dramatic edge of the original may be disappointed.

For tighter execution of the same character, try The Mask of Zorro. For a Western action comedy with a similar plot and tone, try Shanghai Noon. For a more offbeat action adventure that plays in the same space, try The Lone Ranger. For an even stranger attempt at something similar, try Wild Wild West or Jonah Hex.

5.9 out of 10 on IMDB. I give it a 6.5 for enjoyable blend of action and comedy that’s missing some of the finesse of the original.

Today’s quick review: The Mask of Zorro. Twenty years after losing his wife, his daughter, and his freedom to his nemesis, Governor Rafael Montero (Stuart Wilson), Diego de la Vega (Anthony Hopkins), the masked hero known as Zorro, finds a worthy protege in Alejandro Murrieta (Antonio Banderas), a hotheaded outlaw. To get his revenge, Diego trains Alejandro to become the next Zorro, protect the people, and stop Montero once and for all.

The Mask of Zorro is an action adventure that adds a new chapter to the story of the classic pulp hero. Antonio Banderas stars as Alejandro, a thief who finds new purpose in life when he meets Zorro, aged but still as sharp as ever. The Mask of Zorro embraces the breadth of its genre, with daring feats, sweeping conflicts, a sprinkling of humor, and a dash of romance. The end result is a robust and enjoyable film that delivers what it promises.

The Mask of Zorro has action at its core, and it never forgets it. Alejandro’s exploits are accompanied by chases, fights, leaping, sneaking, and all the other tricks of a masked vigilante. The film manages to squeeze a fair amount of variety into this framework. The stunts are not superlative, but they are spirited, cleanly executed, and doled out in generous heaps, with just enough creativity to keep the action feeling fresh throughout.

The Mask of Zorro also boasts a surprising amount of story. The plot includes a number of threads that are woven together well, including Alejandro’s training as Diego’s successor, Montero’s plan to claim California for himself, and Diego’s attempt to reach Elena (Catherine Zeta-Jones), the daughter that Montero stole from him. These subplots give the film an unusual amount of substance and make it a worthwhile addition to Zorro’s canon.

Still, The Mask of Zorro is bound by its premise. How much you get out of the movie will depend on how much you like adventures in general. The plot is dramatic but not realistic. The action goes a step beyond the usual swashbuckling fare, but it’s still outclassed by the best of the action genre. The characters generally hit the mark but tend to be good rather than great. In short, The Mask of Zorro is exactly what it presents itself as.

The Mask of Zorro is a strong pick when you’re in the mood for something adventurous with a good balance of comedy and drama. How much you get out of the film will come down to taste, but adventure fans will find that The Mask of Zorro has a little bit of everything, woven together well and delivered with panache. Those interested in what it has to offer should give it a shot. Those looking for high drama or fine art may want to steer clear.

For a more dramatic tale of revenge, try The Count of Monte Cristo. For the superhero equivalent, try Batman Begins. For an even more sweeping adventure in the same vein, try Pirates of the Caribbean: The Curse of the Black Pearl.

6.7 out of 10 on IMDB. I give it a 7.0 for solid action and plot.

Today’s quick review: Three Amigos. To save her village from the infamous El Guapo (Alfonso Arau), Carmen (Patrice Martinez) sends a telegram asking for help from the Three Amigos (Steve Martin, Martin Short, and Chevy Chase), silent film stars who play folk heroes on the screen. Desperate for work, the Amigos head to Mexico for what they assume will be an easy acting gig, only to find themselves face-to-face with bandits who are all too real.

Three Amigos is a comedy adventure about three actors mistaken for the heroes they play on film. The movie takes a classic case of mistaken identity and runs with it. The Amigos are skilled entertainers but hopeless heroes; to save the day, they must rely on showmanship and dumb luck. Energetic performances, consistent humor, and a breezy tone make Three Amigos a worthwhile pick for fans of the lighter side of the comedy genre.

Three Amigos’ greatest strength is its acting. Steve Martin, Martin Short, and Chevy Chase are a perfect fit for each other and for their roles. Sharp timing and excellent chemistry help them sell the Amigos as well-meaning but wimpy performers with years of experience together. The leads are backed quite nicely by Alfonso Arau and Patrice Martinez, who each contribute to the delicate balance of conflict and absurdity that the film runs on.

Beyond its acting, Three Amigos features well-judged comedy and a pinch of heart. The jokes are inventive and consistent, with a healthy mix of slapstick, situational comedy, wordplay, and general absurdity. The film has a knack for setting up jokes for down the line, so even its one-off gags feel cohesive with the rest of the film. Still, the jokes aren’t as sharp as in some other comedies, and their effectiveness will come down to taste.

Watch Three Amigos when you’re in the mood for something funny, clever, and carefree. The film’s particular flavor of comedy won’t appeal to everyone, especially those who prefer their humor with a little more bite to it. But the combination of a talented cast and solid fundamentals makes Three Amigos well worth trying. For the wrong viewer, it’s a mildly amusing watch that will never click. For the right one, it can be a hidden gem.

For a sci-fi comedy with a similar premise and tone, try Galaxy Quest. For a raunchier Western coemdy with similar charm, try Blazing Saddles. For a classic comedy about a case of mistaken identity, try The Inspector General. For a comedy that does something similar with the spy genre, try The Man Who Knew Too Little.

6.5 out of 10 on IMDB. I give it a 7.0 for simple, feel-good comedy.

Today’s quick review: The Musketeer. To avenge the murder of his parents at the hands of Febre (Tim Roth), D’Artagnan (Justin Chambers) has trained his whole life to become a Musketeer, one of the legendary bodyguards to the King. But when he finally goes to join them, he finds the Musketeers disbanded by Cardinal Richelieu (Stephen Rea) and must rally the dispirited soldiers to stop the Cardinal’s machinations and prevent a war with England.

The Musketeer is an action adventure based on The Three Musketeers, by Alexandre Dumas. The Musketeer puts D’Artagnan front and center, chronicling the bold youth’s adventures as he confronts Febre, courts Francesca (Mena Suvari), and wins the friendship of Athos (Jan Gregor Kremp), Porthos (Steve Speirs), and Aramis (Nick Moran). The shift in focus makes The Musketeer an interesting watch but comes at the cost of the story’s fundamentals.

The Musketeer elevates D’Artagnan to the foreground and takes Febre with him, changing the dynamic of the story considerably. The film keeps the same broad strokes as the familiar tale, but the particulars serve to highlight the prowess of its hero and the cruelty of its villain. The changes are a mixed bag, leading to a sharper conflict and an increased role for D’Artagnan at the cost of development for the Three Musketeers and the Cardinal.

The consequences of the shift are far-reaching. Athos, Porthos, and Aramis have minimal in the way of individual character and barely spend enough time with D’Artagnan to build up a rapport. Cardinal Richelieu is thrust into a passive role, forced to watch as the events he set in motion spin out of control. For his part, D’Artagnan is more brash and less noble, a hyper-competent upstart without much to learn from the Musketeers.

The Musketeer’s other notable feature is its action. The movie takes its stunts a step further than the typical swashbuckling adventure, opting for acrobatic feats and swirling swordplay rather than the traditional feats of fencing. This does serve to juice up the action, and a few of the fights are quite creative. But the effect is diminished by the film’s muted color palette, which keeps the stunts from popping the way they should.

Watch The Musketeer if you’re interested in a new take on the classic story, or if you’re simply in the mood for an action adventure with a bit of bite. The movie sacrifices much of the charm and camaraderie that its source material has to offer in exchange for upgraded action and a clearer focus on D’Artagnan. Whether the exchange is worth it will come down to taste: action fans may enjoy it, but adventure fans may want to steer clear.

For another action adventure that combines a historical French setting with high-flying stunts, try The Brotherhood of the Wolf. For a more earnest, spirited take on the material, try The Three Musketeers, starring Kiefer Sutherland, Oliver Platt, and Charlie Sheen.

4.8 out of 10 on IMDB. I give it a 6.5 for decent action and a focused plot, held back by a weak supporting cast and a lack of heart.

Today’s quick review: The Three Musketeers. Hoping to become a Musketeer like his late father, D’Artagnan (Chris O’Donnell) sets off for Paris to offer his sword to the King. But when Cardinal Richelieu (Tim Curry) disbands the Musketeers as part of a plot to claim the throne, D’Artagnan joins three of the remaining Musketeers—Athos (Kiefer Sutherland), Porthos (Oliver Platt), and Aramis (Charlie Sheen)—to stop the Cardinal and save the King.

The Three Musketeers is an action adventure based on the novel by Alexandre Dumas. The Three Musketeers is an energetic, streamlined adaptation of its source material. Brisk pacing, a breezy tone, and a time-tested plot all contribute to an enjoyable watch, while a balanced cast and swashbuckling action round out the film quite nicely. However, not all viewers will appreciate the film’s simplicity or the way it sidesteps any heavy drama.

The Three Musketeers sticks with the basics of the adventure genre and executes them well. The plot has clear conflicts for the characters to deal with, unambiguous heroes and villains, and pacing that never lets up for long. It is also stitched together with plenty of action. None of the stunts are jaw-dropping, but they are well-suited to the needs of the film, keeping the excitement level up and showing off the Musketeers’ courage.

The Three Musketeers also benefits from a well-rounded cast. The Musketeers themselves have distinctive personalities, drawn in quick, easy strokes that never distract from the main plot. The villains fare just as well, with Tim Curry making for a suitably diabolical Cardinal Richelieu, while Michael Wincott makes for a quietly menacing Captain Rochefort. More to the point, the cast fits well together, with no one character stealing the show.

The strengths of The Three Musketeers also define its weaknesses. The movie is a fairly straight adaptation that will not appeal to those looking for realism or subversive twists. Nearly all of its appeal comes from old-fashioned adventure and classic action, meaning those who are in it for raw spectacle may be disappointed. Finally, the movie does aim to be family-friendly, leading to a tone that skews just a bit too late in certain places.

The Three Musketeers is worth a watch if you’re a fan of the adventure genre for its own sake. Though the movie holds few real surprises, its cast, consistency, and earnest love for its source material make it a fulfilling watch. Those who appreciate what the genre has to offer will find it to be a simple classic. Those looking for gritty historical fiction, all-out action, or a fresh take on the story will want to steer clear.

For another high-quality adaptation of a novel by Alexandre Dumas, try The Count of Monte Cristo. For one that’s less even but has much of the same charm, try The Man in the Iron Mask. For a Western that wears its heart on its sleeve in the same way, try Tombstone. For a swashbuckling, tongue-in-cheek musical comedy, try The Pirates of Penzance. For a more stylized action adventure, try The Adventures of Tintin.

6.4 out of 10 on IMDB. I give it a 7.0 for pure adventure.

Today’s quick review: 3 Musketeers. Set up by a secretive mastermind known as the Cardinal, the Musketeers (Keith Allan, Xin, and Michele Boyd), the United States’ top special ops team, inadvertently spark an international incident that could lead to war with North Korea. Blamed for the incident, the Musketeers have no choice but to rely on Alexandra D’Artagnan (Heather Hemmens), an Army intelligence agent, to clear their names and prevent a war.

3 Musketeers is a budget action movie that reimagines the Three Musketeers as a modern team of special operatives. However, apart from the names and a token amount of swordplay, the movie retains almost nothing from its source material. Instead, it opts for a generic action thriller plot that exists primarily to string together a series of flimsy action scenes. The result is a spirited but sloppy action flick with little to offer.

3 Musketeers’ budget shows in everything it does. The sets and props were clearly scraped together from whatever was available and are barely suited to the purposes the movie uses them for. The action consists of poorly choreographed fights with cheap CGI to handle bullets, explosions, and the odd helicopter chase. Most notably, the acting does almost nothing to sell the world or the story, robbing the story of what little pathos it might have.

3 Musketeers’ one saving grace is that it doesn’t take itself too seriously. The film doesn’t push this to the point of self-paordy, but it does have a loose attitude when it comes to its characters and the rules of its universe. This gives 3 Musketeers the seeds of a comedic side, but even this aspect of the film is not handled particularly well. 3 Musketeers finds itself outclassed by budget films that more thoroughly embrace their goofy side.

Watch 3 Musketeers only if you enjoy the budget action genre for its own sake. 3 Musketeers does aim higher than other buget offerings of similar caliber, but its poor execution only means that it only has farther to fall. Action fans can do better even among budget offerings, while those looking for entertaining schlock will be able to find more memorable titles elsewhere.

For a fully realized take on a similar premise, try The A-Team. For a sci-fi action movie with a similar attitude and better execution, try Lockout. For an action movie that does more with a low budget, try Point Blank.

2.4 out of 10 on IMDB. I give it a 3.5 for budget action without the skill or creativity to make good on its premise.

Today’s quick review: Ballistic: Ecks vs. Sever. Ex-FBI agent Jeremiah Ecks (Antonio Banderas) gets drawn back into the business when he learns that his wife Vinn (Talisa Soto) is still alive and has married Robert Gant (Gregg Henry), a powerful criminal. To find out where she is, Ecks will have to catch Sever (Lucy Liu), a rogue assassin who has kidnapped Vinn’s son Michael (Aidan Drummond) as part of her plan to get revenge against Gant.

Ballistic: Ecks vs. Sever is an action movie that pits a persistent FBI agent against a dangerous killer. Ballistic aims to be a sleek action film with plenty of guns, thrills, and attitude. It succeeds to a certain extent, with light but flashy action and a fine pair of leads. However, an overly ambitious setup and weak plot logic make it a difficult movie to follow, and its few strengths aren’t enough to make up for its weaknesses.

To its credit, Ballistic delivers action and lots of it. The fights are choreographed fairly well, Lucy Liu gets the chance to show off her skill, and Antonio Banderas manages to hold his own. The close combat is probably the film’s cleanest stunt work, but its car chases, firefights, and explosions are just as plentiful, if not as weighty. The action is never as sleek as Ballistic makes it out to be, but it does manage to be simple fun.

Ballistic is on shakier ground when it comes to its plot. The movie is ambitious with its setup, working in not only the titular rivalry, but Ecks’ missing wife, Vinn’s kidnapped child, Sever’s quest for revenge, and a high-tech assassination device sought by Gant. Ballistic never does a good job explaining any of this. Instead it opts to hint at facts that should have been clear from the start and set up revelations that have no impact.

As such, Ballistic: Ecks vs. Sever gets caught between two extremes. In terms of tone and focus, it’s a popcorn action flick with a heavy dose of early 2000s attitude, a breezy watch for the right type of action fan. But its plot is much more elaborate than it’s capable of delivering on, making the movie a confusing watch for anyone actually trying to follow it. Fans of pure action may want to take a look, but most others should steer clear.

For a similar flavor of no-holds-barred action with bigger thrills, try The Rock or Face/Off. For an action movie with the same attitude, try War or The One. For a Lucy Liu movie with more personality, a sharper plot, and a dash of comedy, try Lucky Number Slevin.

3.7 out of 10 on IMDB. I give it a 5.5 for popcorn action held back by a weak plot.